A Critique of Brothers: A Tale of Two Sons

I recently got around to playing Brothers: A Tale of Two Sons. It’s one of those games I picked up forever ago, and it just sat around. I got it because it has to be one of the most critically acclaimed games I’ve ever seen. Giant Bomb and many, many other gaming sites gave it a 5/5 or very near such a perfect score.

I’m going to take a contrarian view, and I’m going to back up my claims with hard facts. Anyone paying attention and who knows about games should know better. I’m very confused as to how “experts” could have thought this game was good. I’m confused how “experts” could have even liked the game.

First, the game suffered from genre confusion. I’m all for experimenting with new, cross-genre ideas, but there has to be some content there at the end of the day. Was it a puzzle game? No. It fails on this front, because I never once had to “solve” something. From start to finish, the solution of how to progress was immediately obvious. Moreover, many of the puzzles repeated … several times … like, way too many times for a game this short.

Was it a platformer? No. The platforming aspects were too easy, and the stakes were too low. I think I died at one point because I accidentally let go of a trigger. That was my only death, and basically it happened because I itched my face or something. I got to repeat the task immediately with no penalty.

There is no platforming difficulty at all. In fact, many elements were downright bad on this front:

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The number of places where you must edge around a cliff or cross a narrow bridge got on my nerves. Not because I had to execute something challenging, but because the game designers clearly have no idea why other games use these elements. There is no risk of falling. The game won’t let you—I tried. So what’s the point other than to slow the player down? It’s more than an annoyance; it’s bad game design.

Basically, the game must be a story-driven walking simulator, because we’ve now determined it isn’t any of the other genres it’s crossed with. So how is the story? Oh, boy. Don’t get me started. It’s terrible.

First, it starts with a MacGuffin. This is already bad, mostly because we don’t even know what we’re setting off on our adventure to find. We only know it will magically save our father. That’s convenient. Where are we going? How do we know this cure will work? Don’t the writer’s know that MacGuffins are considered a cliche trope indicative of bad storytelling?

Then we haven’t even left our town and a kid is trying to stop us. Why? Our father is dying, and this kid doesn’t want to let us through. I get it. They needed an excuse to set up some “platforming puzzles” (that, recall, require no platforming or puzzle-solving skills). But you can’t have such a disgusting character with no motivation. I hate the term “ludonarrative dissonance,” because I’ve never consciously experienced it. But here I did. This conflict between gameplay and story already ruined the mood of the game in the first five minutes.

Another act of ludonarrative dissonance was when I got to this big castle that I couldn’t enter, but it had these perfectly placed pegs to grab on to (not quite the picture I wanted, but you get the point):

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Really? This highly fortified castle has this convenient other way to scale it with perfectly placed pegs, just the right distance so that the rope randomly tied between the two brothers barely reaches. Is this a story game or a puzzle platformer? If it’s a platformer, we could overlook these huge narrative flaws. But it doesn’t work as a game in that genre. It’s a story game, but these scenarios wreck the suspension of disbelief for the story.

More succinctly, in the language of game design, these sections involve “environmental puzzles,” but the puzzles don’t occur naturally in the environment at all. This is bad game design.

And let’s not even go there with the deus ex machinas. Are you stuck and can’t actually progress? Yes? Oh, well, good thing a giant appears out of nowhere and just throws you across the ravine. Did you get to the top of the castle only to be at a dead end? Good thing there is a bird trapped in a cage that will fly you to the next area.

It gets worse. How is that bird still alive? It’s been trapped in a cage for who-knows-how-long, bleeding, without any food, and all the people that could feed it are dead. Are we really supposed to believe the bird is still alive?

Lastly, people claim the ending is really sad. They claim they were moved to tears. I couldn’t get past the shrieking woman singing that shrill song at the climax. It ruined the mood. Ending Spoiler:

On a more serious note, I’ve already mentioned all the reasons I never got into the story: ludonarrative dissonance, tropes/cliches, unmotivated characters, ruined suspension of disbelief, plot holes, etc. I just didn’t feel anything except relief the game was over.

On positive note, the concept could have been amazing. Part of what made the game easy was that the core concept was never executed to its fullest. You have to move one of the brothers with one hand and the other with the other hand.

The potential for some truly interesting and difficult gameplay is there. All they had to do was design parts where you have to move both at the same time in fairly precise and independent ways. Instead, they stuck to having you move both in parallel or one at a time. That was the main downfall of the game: It didn’t even deliver on its core innovative mechanic.

Overall, each element has much better games. For puzzle platforming, there are dozens of examples: Braid, Thomas Was Alone, Teslagrad, Super Meat Boy, Trine, and on and on. For story, there are dozens of examples: Gone Home, Bastion, To the Moon, and on and on. For atmosphere: Limbo, Dear Esther, Kentucky Route Zero, The Long Dark, and on and on. I see no reason why anyone should play this game under any circumstance. There’s just much better games on every front.

I know. The whole is better than the sum of its parts for some games. In this case, that is not true. In fact, many parts messed up other parts. What the critics and people who liked this game were thinking is beyond me.

PC Game Hidden Gems and Some That Aren’t

I had trouble coming up with a succinct title for this post. I wanted to go through some underrated games and some highly rated games that weren’t very good, because it’s been awhile since I’ve done any sort of game review post.

Tactical RPG’s

Underrated: Massive Chalice

Massive Chalice has a similar combat system to XCOM. It initially got some very poor reviews because of this comparison. Many called it XCOM-light or a less deep and easier version of that game. This is an unfair comparison, because most of the strategy and depth comes from the other part of the game.

Massive Chalice has you set up bloodlines from your characters. You know a bunch of traits and character flaws of the characters, and then you must marry them to produce children. There are so many factors and risk/rewards that must go into this.

Do you retire your best fighter so that in 20 years you have several of his children on the battlefield only to find out he couldn’t produce any children? Do you risk a sharpshooter with an alcohol problem staggering around the battlefield? Do you trust the numbers given to you by an overconfident person?

This game might not get you the 200+ hours that many put into XCOM, but put it on ironman hard mode and you’ll be in for a tough challenge. It has a lot of character and humor too. The initial hate it got was unwarranted.

Overrated: The Banner Saga

I know I’ll get hate for this one. This game has overwhelming positive reviews. I think they are unwarranted. This game claimed to have the big three things I’d look for in a game: great story, great art, tactical strategy.

It had one of those; the art is fantastic. I thought the story was thin. It mostly felt like a series of excuses to get to the gameplay. Travel, camp, stop at a town, sometimes drama, repeat. It is very Oregon Trail-like in this respect. I wanted something more than an excuse to be fighting, and that’s all it felt like to me.

The gameplay itself is quite poor. There is a tactical aspect, but it is largely irrelevant. Whether you collect resources or not, you’ll be fine. No matter how you level or play the characters, you’ll be fine. No matter how you position, you’ll be fine. Once I found this out, I stopped trying, and just attacked from wherever I was and won.

But the most important part where this game failed for me was how separate everything was. Story-driven games need to integrate that aspect into the gameplay for a rich and seamless experience. The story and the gameplay were completely separate, which created a disjointed play experience.

Roguelikes

If you are a longtime reader, you’ll know this is kind of my genre, so I’ll do two underrated games. For the most part, it takes a ton of time and feedback to make a great roguelike. This means most aren’t really worth sinking time into unless they are well-known. Here’s two that are well worth the time despite not being talked about as much.

Dungeonmans

This is basically a humorous version of the famous Tales of Maj’Eyal (ToME). To be fair, ToME is a more complicated game, but I think Dungeonmans improves on the ToME idea in several important ways.

First, it has a simpler skill tree system. This makes it more manageable for people who don’t want to spend 100 hours just learning what the different things do. It also has less classes/races, again, an improvement.

Dungeonmans has a randomly generated overworld. This makes repeated playthroughs more interesting than going the same places in the same order like in ToME. It implements an interesting persistence mechanic too. This makes the game beatable for more casual players (but there is an “ironmans” mode for the hardcore permadeath fans).

Longtime fans of ToME might not find what they want in this game (though I did!), but I highly recommend this game for the roguelike-curious who are scared off from giant learning curves like ToME.

Sword of the Stars: The Pit

This is one of the only truly modern roguelikes out there. It is hardcore in the most classic sense of the genre except for ASCII graphics. The game consists of pure dungeon diving. You go to the bottom of the pit to win. What makes the game so great is its inventory management.

Planning ahead and conserving weapons and understanding enemy movement is the key to success. Unlike Dungeonmnans, there is a good chance you’ll never win this on Normal mode (and there are still three difficulty levels above that!).

You have to become really good at the game to succeed. This takes patience and effort. This is what people like about roguelikes. If this sounds terrible, then this game isn’t for you. When you start, you will think the game is too hard to beat, but people who are good at this game can win on Normal more than 90% of the time. It’s not too hard—it’s you.

There is a “recipe” discovery mechanic that is pretty tedious, and this game gets a lot of negative feedback for it. I agree with that aspect of negativity, but it is a small matter that shouldn’t ruin the game.

Strategy

Overrated: Unity of Command

This is a small title, so I’m not sure it’s “overrated.” I saw it pop up numerous times while searching for good PC strategy games. The player reviews tend to be very good too. I could not get into this game at all.

The concept of the game is to advance your front in specific battles while not losing access to your supply line. I’ll admit the concept is clever in how realistic a scenario this is.

The simplification of the war strategy game genre down to its essentials makes getting started easier, but I didn’t find it deep or satisfying. It uses weird turn limits to artificially increase difficulty (more like a puzzle than a strategy game). Randomness plays too big a role as well.

Underrated: Endless Legend

I’m not sure this qualifies as an underrated, because Rock, Paper, Shotgun named it 2014 Game of the Year. Still, the player reviews remain mixed and often negative, so I’m going with “currently underrated.”

This is a 4X strategy game similar to the Civilization franchise. Unlike Civ, this has a fantasy setting on an alien planet. The art is stunning. The backstory for each faction is buried within the game play. This is the type of integration of story and game I was referring to above.

Each faction plays differently. You can choose to enter tactical combat if you wish or you can auto-complete the combat. The large-scale strategy is almost endlessly deep (you see what I did there?) from what to research, whether to build up cities or expand outward, making alliances, spying, attacking, defending, trade routes, trading, marketplace, completing quests, exploring, assigning heroes, and on and on. Any fan of PC strategy games that hasn’t checked this out is really missing a gem with this one.